One of the most dangerous of literary ventures is the little, shy, unimportant heroine whom none of the other characters value. The danger is that your readers may agree with the other characters.
You know you are a writer when you talk about your characters as if they were real people!
I want you to tell all these people that I wanted more time to spend with them. Tell them I meant to, tell them I wanted to hear what they said and tell them what was on my mind.
I don’t read books to finish them, I read to consume them.
This is the strange life of books that you enter along as a writer, mapping an unknown territory that arises as you travel. If you succeed in the voyage, others enter after, one at a time, also alone, but in communion with your imagination, traversing your route. Books are solitudes where we meet.
We as authors sign a pact with our readers; they’ll go on reading because they trust us to play fair with them and deliver what we’ve promised.
I believe books should be like a prime rib steak ~ good and thick.
There are four kinds of readers. The first is like the hourglass; and their reading being as the sand, it runs in and runs out, and leaves not a vestige behind. A second is like the sponge, which imbibes everything, and returns it in nearly the same state, only a little dirtier. A third is like a jelly bag, allowing all that is pure to pass away, and retaining only the refuse and dregs. And the fourth is like the slaves in the diamond mines of Golconda, who, casting aside all that is worthless, retain only pure gems.
Stories start in all sorts of places. Where they begin often tells the reader of what to expect as they progress. Castles often lead to dragons, country estates to deeds of deepest love (or of hate), and ambiguously presented settings usually lead to equally as ambiguous characters and plot, leaving a reader with an ambiguous feeling of disappointment. That’s one of the worst kinds.
It is a cardinal sin to bore the reader.